Dance Images in Temples of Mainland Southeast Asia ... - Repository

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fig 2/5 flying kinnari, madhya pradesh, central india, c. 10 th century. patna museum. fig 2/6 dancing gana, amaravati, south india, c. 100–200, chennai museum. photograph author 2005. 49
The Shiva Nataraja represents Shiva as the destroyer/creator as described by devotional poetry dedicated to him. In the Hindu cyclical view of time Shiva’s role is to destroy one era in order to create the next one, and this is what Shiva Nataraja statues portray. When he executes his cosmic tandava dance of destruction and creation he is surrounded by an arch of glory fringed by fl ames. The fl ame that he is holding in his upper left hand hints at the aspect of destruction while the drum, symbol of the pulse of the life, which Shiva holds in his upper right hand, refers to the aspect of creation. The lower left hand points to his lifted foot while the lower right hand is shown in pataka mudra. Multi-handedness, a feature typical of many nrttamurtis, is a practical way to manifest the deity’s different aspects simultaneously. It also enables the sculptor to capture several frozen moments of a movement sequence in a static sculpture. The main characteristic of Shiva’s dance in the Chola iconography is the uplifted leg. His right leg is fi rmly planted on a dwarfi sh creature, which personifi es one of the six enemies of enlightenment. The sculpture is full of symbolism. Shiva’s braided hair is often decorated with his attributes: a laughing skull, a crescent moon and a cobra, and often also Ganga, the personifi cation of the Ganges. The rasa, which Shiva’s dance always evokes, is raudra. Even if 50 fig 2/7 shiva nataraja, chola dynasty 11 th century, tamil nadu, south india, thanjavur art gallery. photograph author 2005.
Page 1 and 2: Dance Images in Temples of Mainland
Page 4 and 5: Dance Images in Temples of Mainland
Page 6: To Raimo
Page 9 and 10: Marja-Leena Heikkilä-Horn from Mah
Page 12: Abstract This dissertation analyses
Page 15 and 16: fig 3/6 Flexible arms being trained
Page 17 and 18: fig 6/12 Miniature painting showing
Page 19: 5 pagan: dance and the burmese-budd
Page 23 and 24: eligious structures of the region.
Page 25 and 26: artists, such as sculptors, carvers
Page 27 and 28: of temple-related dance images of S
Page 29 and 30: positions. Furthermore, they are al
Page 31 and 32: 2. Analysis of the subject matter o
Page 33 and 34: and the belief system of the cultur
Page 35 and 36: As mentioned already in the Introdu
Page 37 and 38: Vatsyayan’s legacy has been follo
Page 39 and 40: fig 2/1 tympanum of a dong son bron
Page 41 and 42: In many fi elds of art and culture
Page 43 and 44: would not be unthinkable that the p
Page 45 and 46: shares common aesthetic norms, icon
Page 47: (c) semi-gods or intermediate gods
Page 51 and 52: terms of the karanas described in t
Page 53 and 54: (1990, 22-31) and Jyotindra Jain (1
Page 55 and 56: movements, gestures etc. may have b
Page 57 and 58: the interaction between the downstr
Page 59 and 60: conceptions of art as well as porta
Page 61 and 62: love-making, pleasantries, fi ghtin
Page 63 and 64: fig 2/11 mock combat or training of
Page 65 and 66: cases still are, regarded as sacred
Page 67 and 68: storyteller to explain the stories
Page 69 and 70: fig 2/13 plan of the borobudur stup
Page 71 and 72: 72 fig 2/14 dancer performing at co
Page 73 and 74: fi xed iconographical conventions c
Page 75 and 76: specultaion about the reason for th
Page 77 and 78: texts. The stories that originated
Page 79 and 80: fig 2/20 rama as archer. candi loro
Page 82 and 83: 3 The Localisation of Indian-Derive
Page 84 and 85: 3 The Localisation of Indian-Derive
Page 86 and 87: By critically employing this scatte
Page 88 and 89: which regularly took place in pilla
Page 90 and 91: the lack of textual evidence it is
Page 92 and 93: The earliest existing cosmological
Page 94 and 95: covers the period from the 7 th to
Page 96 and 97: fig 3/3 shiva nataraja, badami, wes
Page 98 and 99:
One reutilised Shiva tympanum has s
Page 100 and 101:
fig 3/7 pedestal with dancers, cham
Page 102 and 103:
As the two pedestals referred to ab
Page 104 and 105:
y an audience etc. The majority of
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approximately the 8 th century onwa
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unambiguous as to whether a certain
Page 110 and 111:
The dance pose of this deity is cle
Page 112 and 113:
When one considers how little is kn
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with a similar style and side ornam
Page 116 and 117:
fig 3/19 dancing kinnari or a human
Page 118 and 119:
fig 3/21 mon-period miniature gold
Page 120 and 121:
(Aasen 1998, 39). The chedi shows C
Page 122 and 123:
fig 3/23 dancing tantric goddess, 9
Page 124 and 125:
of the Theravada Buddhist cosmos. I
Page 126 and 127:
fig 3/25 terracotta relief showing
Page 128 and 129:
The small towers are capped with fo
Page 130 and 131:
4 Angkor Wat: Dance and the Hindu-K
Page 132 and 133:
4 Angkor Wat: Dance and the Hindu-K
Page 134 and 135:
with great fuss by the western colo
Page 136 and 137:
According to the textual sources it
Page 138 and 139:
The 1 st enclosure, with its magnif
Page 140:
fig 4/4 dancing female figures, usu
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